Film Quotes

I'm really proud of Blair Witch Project as a film, but as far as the cultural phenomenon of it - that was just weird luck.

I don't have any sort of calculus in choosing film roles.

By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.

I can tell when an actor's forcing tears, and it's tricky because you then have to film it and edit in a certain way to skirt around the issue.

Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.

A feature film is twenty-four lies per second.

I don't know what to do with myself between films. I end up doing unhealthy things like shopping or drinking. I'm pretty schizophrenic about it.

But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.

Absolutely, 'Rabbit Hole' gave me a nice first introduction into film acting.

A film is the director's medium. The theater is an actor's.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.

I consider all my films experiments.

I'd never make a film that I am not passionate about. My whole life, I've only made the films I wanted to make, even when I had limited means.

In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.

Film acting has been a very pure experience, because you have to give the purest form of yourself as an artist.

All these horror movies are slasher film now. I like them, they're fun, but they wink at the audience and you're really not terrified through the movie.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.

As a European filmmaker, you can not make a genre film seriously. You can only make a parody.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

My whole goal was to be able to work in television and film and maintain a normal life, never be in a tabloid.

Working on a film, you don't get time to develop rivalries, but the theatre is like a little village, and the differences between me, Lionel and Georgia grew.

A woman in Mexico wanted me to heal her. But I can't heal anybody. I just put my hand on her and said, 'Thank you for seeing the film.'

I like black and white films. I don't exactly know why - probably because there is a stylization which is removed from actual life, unlike a color film.

I don't want to make pompous, serious films.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.

Life has no plot, why must films or fiction?

A lot of films come out before they're finished.

I don't believe in having body doubles for a film.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

Making a film that is in seven days of one week is not a new idea.

Never again work in the same conditions in whichyou made your first film. It's good to take risks, but not thatmuch risk.

Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.

Film is a window to the real world but a lie that makes you believe the unbelievable.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

Kurosawa was one of film's true greats. His ability to transform a vision into a powerful work of art is unparalleled.

But I think Barry Sonnenfeld let his ego go out of control. He told me in a meeting that he had to do something to make it his film.

One of the most telling things about film school is you've got a lot of students wandering around saying, "Oh, I wish I could make a movie. I wish I could make a movie."

My choices in films are spontaneous.

I wanted to make abstract films that are emotional, and I still do.

I want to live where I want to live, and I will make films because I love to make films.

I feel Irish-Americans are the forgotten minority group. Nobody else is making films about them.

Before she married my father, my mother was a film reviewer for The Akron Beacon Journal - a small newspaper.

When I see a film I've finished, it's like another person made it. Like another mind.

If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.

If I just concentrate I can walk into memory's store and find the right shelf with the right film and disappear into it.

When I got back into the film business after college, I started out as a production assistant.

Ninety percent of films are pretty mediocre, but they have a built-in audience and open on 3,000 screens.